Poulenc questions
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- Created by: lilac123
- Created on: 01-04-21 11:28
Give two features of the use of dynamics in the extract. (figure 4-6)
1.Begins mp
2. Crescendos to fff
2. Crescendos to fff
1 of 18
The four-bar melody played at figure 4 has been heard previously in the work. Give the bar numbers and instrument holding the melody on its first appearance.
Figure 3, oboe
2 of 18
Describe the similarities and differences of these two statements.
-Same key and same harmony
-LH piano exactly the same
-Bassoon is an octave lower than the oboe
-Bassoon is mp whereas the oboe had been mf
-Final bar of each statement is different – first time is scalic descending in 6ths between oboe and bassoon, secon
-LH piano exactly the same
-Bassoon is an octave lower than the oboe
-Bassoon is mp whereas the oboe had been mf
-Final bar of each statement is different – first time is scalic descending in 6ths between oboe and bassoon, secon
3 of 18
(d) Identify a location for each of the following: 1.Dominant 7th chord, 2.Tierce de Picardie, 3.Tonic
1. bar before figure 6
2.figure 5
3.bar 35-36
2.figure 5
3.bar 35-36
4 of 18
Describe the harmonic progression from bar 37 – 38
Could be heard as a perfect cadence into C minor (V7b – I), but in fact is more of an interrupted cadence (V7b – VI).
5 of 18
What is significant about figure 5 in terms of the movement’s structure?
Climax of the movement
6 of 18
Give two features of the use of metre/rhythm in the extract. (figure 7-8)
1. Change of metre from 4/8 to 2/8 two bars before figure 8
2. Rhythms become more florid bar before 8 (demisemis, septuplet)
3. Dotted quaver-semiquaver rhythm common
4. Almost continuous semiquavers throughout
5. Bassline typically slower rhythms in LH
2. Rhythms become more florid bar before 8 (demisemis, septuplet)
3. Dotted quaver-semiquaver rhythm common
4. Almost continuous semiquavers throughout
5. Bassline typically slower rhythms in LH
7 of 18
The melody played at figure 8 has been heard previously in the work. Give the bar numbers and instrument holding the melody on its first appearance.
Bar 1 – 4 in RH piano
8 of 18
Describe how the accompaniments to this melody in the two statements differ. Do not repeat any answers previously given.
Woodwind finish last phrase figure 8
Piano texture the same except for addition of acciaccaturas
Dynamics are piano at figure 8
Quavers in LH piano now descending rather than octave leaps
Third bar of 8 octave doubling of melody in oboe and piano
3rd and
Piano texture the same except for addition of acciaccaturas
Dynamics are piano at figure 8
Quavers in LH piano now descending rather than octave leaps
Third bar of 8 octave doubling of melody in oboe and piano
3rd and
9 of 18
Describe the harmonic progression from figure 9 to the end of the work. Why does this provide a suitable ending
Repeated plagal cadence (IV – I)
Serene ending
Serene ending
10 of 18
Briefly outline what you consider to be the form of this movement, mentioning any unusual or interesting features in Poulenc’s approach to this aspect of the work
It is undoubtedly in three sections
It could be considered as ternary form (ABA)
but there is no explicit contrast of mood within to sustain this argument.
The whole three-movement form gives a better indication, where this central
movement is vital to
It could be considered as ternary form (ABA)
but there is no explicit contrast of mood within to sustain this argument.
The whole three-movement form gives a better indication, where this central
movement is vital to
11 of 18
Extract begins at bar 23, State the key of the music at the start of the extract.
B minor
12 of 18
State how this key relates to the key at the opening of the movement
(Minor) Neapolitan {flattened supertonic}
13 of 18
Give one feature of the music in the extract that is typical of the Neoclassical
style.
style.
• melodic material also reminiscent of classical era – e.g., use of
chromatic auxiliary notes as in bassoon part in bars 38-40
• Use of octatonic scale
• Avoidance of root position chords
chromatic auxiliary notes as in bassoon part in bars 38-40
• Use of octatonic scale
• Avoidance of root position chords
14 of 18
Briefly describe how the extract fits into the form of the movement.
Could be considered the (opening of) B section / of an ABA structure
• though return of A section is unusually in the dominant (F major, bar
52)
• could also be considered as the continuation of opening A section /
as part of a tripartite structure in whi
• though return of A section is unusually in the dominant (F major, bar
52)
• could also be considered as the continuation of opening A section /
as part of a tripartite structure in whi
15 of 18
Describe two features of the harmony in bars 37-45(1)
-Series of sequential chromatic 6/3 chords
• chords on D and D# also embellished by a chromatic inner voice /
forming an incidental augmented chord (42, 44)
increase/double the harmonic rhythm of previous three bars
• chords on D and D# also embellished by a chromatic inner voice /
forming an incidental augmented chord (42, 44)
increase/double the harmonic rhythm of previous three bars
16 of 18
Describe one interesting feature in the use of the movement’s opening
material at this later point.
material at this later point.
Repeated sequentially (semitone higher) in bars 43-44
• first time Bb major has been recalled since opening of
movement {only instance of tonic harmony other than at opening}
• new bassoon “countermelody” (arpeggio figure) added (412-431)
• first time Bb major has been recalled since opening of
movement {only instance of tonic harmony other than at opening}
• new bassoon “countermelody” (arpeggio figure) added (412-431)
17 of 18
Describe the use of instruments in bars 23-40.
-Oboe and bassoon present melodic material / with
overlapping/antiphonal 1-bar melodic fragments (23-261
)
• followed by parallel movement in 6ths (261
-28)
• oboe takes over melodic line for cadence (29-30)
• while bassoon fulfils function of bass part (
overlapping/antiphonal 1-bar melodic fragments (23-261
)
• followed by parallel movement in 6ths (261
-28)
• oboe takes over melodic line for cadence (29-30)
• while bassoon fulfils function of bass part (
18 of 18
Other cards in this set
Card 2
Front
The four-bar melody played at figure 4 has been heard previously in the work. Give the bar numbers and instrument holding the melody on its first appearance.
Back
Figure 3, oboe
Card 3
Front
Describe the similarities and differences of these two statements.
Back
Card 4
Front
(d) Identify a location for each of the following: 1.Dominant 7th chord, 2.Tierce de Picardie, 3.Tonic
Back
Card 5
Front
Describe the harmonic progression from bar 37 – 38
Back
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